Quotes about booking

page 51

Hansard, House of Commons, 5th series, vol. 468, col. 319.
Speech in the House of Commons, 29 September 1949.
1940s
Context: It has been suggested, I think by the hon. Member for East Aberdeenshire (Mr. Boothby) that the most constructive suggestion he could make was to urge an early General Election and a return of a Tory Government in Britain. Why on earth should he want to prophesy what might result from a Tory Government when history has the record for him? Why read the crystal when he can read the book?

Holidays in Hell (1989)

"Ars Poetica?"
Context: There was a time when only wise books were read
helping us to bear our pain and misery.
This, after all, is not quite the same
as leafing through a thousand works fresh from psychiatric clinics. And yet the world is different from what it seems to be
and we are other than how we see ourselves in our ravings.

"Letter to St Bernard" in Illustrissimi (1976), p. 53
Context: Let me give an example. It is far away in time but a classic case … In 1815, the official French newspaper Le Moniteur, showed its readers how to follow Napoleon's progress: 'The brigand flees from the island of Elba '; 'The usurper arrives at Grenoble'; ' Napoleon enters Lyons'; 'The Emperor reaches Paris this evening'. What an amazing turnabout! This must not be compared with prudence, just as it isn't prudent to have a stubborn attitude and to take no account of what is obviously real or to become excessively rigid and zealously upright, more loyalist than the king, more papist than the pope.
This happens. Some people seize on an idea, then bury it and guard it for the rest of their lives, defending it jealously without ever examining it again, without ever trying to check what has become of it after all the rain and wind and storms of events and changes.
Those who travel in the stratosphere are in danger of not being prudent, when they are full of knowledge acquired purely from books. They can never get away from what is written, are always busy analyzing, pointing out subtleties, perpetually splitting hairs.
Life is quite another matter.

Source: Education of a Wandering Man (1989), Ch. 1
Context: A great book begins with an idea; a great life, with a determination.
My life may not be great to others, but to me it has been one of steady progression, never dull, often exciting, often hungry, tired, and lonely, but always learning. Somewhere back down the years I decided, or my nature decided for me, that I would be a teller of stories.
Decisions had to be made and there was nobody but me to make them. My course altered a number of times but never deviated from the destination I had decided upon. Whether this was altogether a matter of choice I do not know. Perhaps my early reading and the storytelling at home had preconditioned me for the role I adopted.
Somewhere along the line I had fallen in love with learning, and it became a lifelong romance. Early on I discovered it was fun to follow along the byways of history to find those treasures that await any searcher. It may be that all later decisions followed naturally from that first one.
One thing has always been true: That book or that person who can give me an idea or a new slant on an old idea is my friend.

Interview on CBS News Sunday Morning (30 November 2006)
Context: Here's a chance, I think, for us to kind of remind ourselves, of those things we all commonly enjoy and love and share, try to get back together. You know, singing out for a more peaceful world today, I think, can only do good. … I do believe that … a lot of Muslims have yet to learn, you know, the incredible great history and contribution of Islamic civilization — and its become very, if you like, in some way puritanical — that puritanical approach will become narrower and narrower and even become more fragmented. Its that vast middle ground where people actually live, you know, that we have to reclaim; and in that area, everybody should be able to live together. And I don't think that God sent us prophets and books to fight about these books and these prophets. But they were telling us, actually, how to live together. If we ignore those teachings — whichever faith you belong, you profess, then I think we'll be finding ourselves in an even deeper mess.

Williams-Akoto. "My Home: Stella Vine, artist" http://www.independent.co.uk/life-style/house-and-home/property/my-home-stella-vine-artist-517456.html, The Independent, (2005-11-30)
On reading.

The quantity of anthropological data discovered by scientists now exceeds any individual’s ability to assimilate it. The division of labor, including intellectual labor, begun thirty thousand years ago in the Paleolithic, has become an irreversible phenomenon, and there is nothing that can be done about it. Like it or not, we have placed our destiny in the hands of the experts. A politician is, after all, a kind of expert, if self-styled. Even the fact that competent experts must serve under politicians of mediocre intelligence and little foresight is a problem that we are stuck with, because the experts themselves cannot agree on any major world issue. A logocracy of quarreling experts might be no better than the rule of the mediocrities to which we are subject. The declining intellectual quality of political leadership is the result of the growing complexity of the world. Since no one, be he endowed with the highest wisdom, can grasp it in its entirety, it is those who are least bothered by this who strive for power.
One Human Minute (1986)

Speaking Of Love (1980)
Context: When I wrote my book, LOVE, it was really funny, because my publisher said, "Oh, Leo, you're going to have to change the name because I'm sure that someone has used that name before." I said, "Why don't you send it in and see what happens?" So we sent it in and I got the "copyright" for LOVE! No one had ever thought of a book called simply Love. L-O-V-E. Such a good word. Such a limitless word. Such a limitless concept.

"Introduction" http://www.bopsecrets.org/rexroth/autobio/1.htm
An Autobiographical Novel (1991)
Context: Any writer, reading over the typescript of a book for the last time before sending it off to the publisher, must wonder what all the effort was for. An autobiography is specially in need of justification to its author. It is a work of self-justification which itself needs justifying. Why have I written this book? Why have I written it the way I have? What does it mean to me? What do I hope it will mean to others?
Each human being has at the final core of self a crystal from which the whole manifold of the personality develops, a secret molecular lattice which governs the unfolding of all the structures of the individuality, in time, in space, in memory, in action and contemplation. Asleep there were just these dreams and no others. Awake there were these actions only. Only these deeds came into being.

1860s, Our Composite Nationality (1869)
Context: The next objection to the Chinese is that he cannot be induced to swear by the Bible. This is to me one of his best recommendations. The American people will swear by any thing in the heaven above or the earth beneath. We are a nation of swearers. We swear by a book whose most authoritative command is to swear not at all. It is not of so much importance what a man swears by, as what he swears to, and if the Chinaman is so true to his convictions that he cannot be tempted or even coerced into so popular a custom as swearing by the Bible, he gives good evidence of his integrity and of his veracity. Let the Chinaman come; he will help to augment the national wealth; he will help to develop our boundless resources; he will help to pay off our national debt; he will help to lighten the burden of our national taxation; he will give us the benefit of his skill as manufacturer and as a tiller of the soil, in which he is unsurpassed.

Letter to Evert Augustus Duyckinck (3 March 1849); published in The Letters of Herman Melville (1960) edited by Merrell R. Davis and William H. Gilman, p. 78; a portion of this is sometimes modernized in two ways:
Context: I do not oscillate in Emerson's rainbow, but prefer rather to hang myself in mine own halter than swing in any other man's swing. Yet I think Emerson is more than a brilliant fellow. Be his stuff begged, borrowed, or stolen, or of his own domestic manufacture he is an uncommon man. Swear he is a humbug — then is he no common humbug. Lay it down that had not Sir Thomas Browne lived, Emerson would not have mystified — I will answer, that had not Old Zack's father begot him, old Zack would never have been the hero of Palo Alto. The truth is that we are all sons, grandsons, or nephews or great-nephews of those who go before us. No one is his own sire. — I was very agreeably disappointed in Mr Emerson. I had heard of him as full of transcendentalisms, myths & oracular gibberish; I had only glanced at a book of his once in Putnam's store — that was all I knew of him, till I heard him lecture. — To my surprise, I found him quite intelligible, tho' to say truth, they told me that that night he was unusually plain. — Now, there is a something about every man elevated above mediocrity, which is, for the most part, instinctuly perceptible. This I see in Mr Emerson. And, frankly, for the sake of the argument, let us call him a fool; — then had I rather be a fool than a wise man. —I love all men who dive. Any fish can swim near the surface, but it takes a great whale to go down stairs five miles or more; & if he don't attain the bottom, why, all the lead in Galena can't fashion the plumet that will. I'm not talking of Mr Emerson now — but of the whole corps of thought-divers, that have been diving & coming up again with bloodshot eyes since the world began.
I could readily see in Emerson, notwithstanding his merit, a gaping flaw. It was, the insinuation, that had he lived in those days when the world was made, he might have offered some valuable suggestions. These men are all cracked right across the brow. And never will the pullers-down be able to cope with the builders-up. And this pulling down is easy enough — a keg of powder blew up Block's Monument — but the man who applied the match, could not, alone, build such a pile to save his soul from the shark-maw of the Devil. But enough of this Plato who talks thro' his nose.

On his style of filming The Hunger Games, as quoted in "Director Gary Ross Talks The Hunger Games, Catching Fire, Deleted Scenes, and a Lot More" by Steve 'Frosty' Weintraub at Collider (22 March 2012) http://collider.com/gary-ross-hunger-games-interview/
Context: I’m trying to capture what was visceral in the books, which is your first-person present tense narrative, and that’s gonna require a certain amount of subjectivity. In order to be in Katniss’ point of view and in her shoes — what being in a character’s point of view is, is restricting the information that the audience has to what that character has, and not being writer omniscient. I’m not cutting from place-to-place, I’m moving in this serpentine, destabilized path as Katniss wanders through this world. That’s not only true in the shooting style, it’s also true in the editing style. … This was a very conscious decision to create a very subjective style because the books are so subjective, they’re first-person and they’re urgent and you see the world as she sees the world, so that was the reason for it.

Preface (1 February 1834)
A Narrative of the Life of David Crockett (1834)
Context: I don't know of any thing in my book to be criticised on by honourable men. Is it on my spelling? — that's not my trade. Is it on my grammar? — I hadn't time to learn it, and make no pretensions to it. Is it on the order and arrangement of my book? — I never wrote one before, and never read very many; and, of course, know mighty little about that. Will it be on the authorship of the book? — this I claim, and I hang on to it, like a wax plaster. The whole book is my own, and every sentiment and sentence in it. I would not be such a fool, or knave either, as to deny that I have had it hastily run over by a friend or so, and that some little alterations have been made in the spelling and grammar; and I am not so sure that it is not the worse of even that, for I despise this way of spelling contrary to nature. And as for grammar, it's pretty much a thing of nothing at last, after all the fuss that's made about it. In some places, I wouldn't suffer either the spelling, or grammar, or any thing else to be touch'd; and therefore it will be found in my own way.
But if any body complains that I have had it looked over, I can only say to him, her, or them — as the case may he — that while critics were learning grammar, and learning to spell, I, and "Doctor Jackson, L. L. D." were fighting in the wars; and if our hooks, and messages, and proclamations, and cabinet writings, and so forth, and so on, should need a little looking over, and a little correcting of the spelling and the grammar to make them fit for use, its just nobody's business. Big men have more important matters to attend to than crossing their ts—, and dotting their is—, and such like small things.

"Robert Anton Wilson on Wilhelm Reich" (March 1995)
Context: He {Wilhelm Reich} had a great capacity to arouse irrational hatred obviously, and that's because his ideas were radical in the most extreme sense of the word "radical." His ideas have something to offend everybody, and he ended up becoming the only heretic in American history whose books were literally burned by the government.
Timothy Leary spent five years in prison for unorthodox scientific ideas. Ezra Pound spent 13 years in a nuthouse for unorthodox political and economic ideas. Their books were not burned.
Reich was not only thrown in prison, but they chopped up all the scientific equipment in his laboratory with axes and burned all of his books in an incinerator. Now that interests me as a civil liberties issue.
When I started studying Reich's works, I went through a period of enthusiasm, followed by a period of skepticism, followed by a period of just continued interest, but I think a lot of his ideas probably were sound. A lot probably were unsound. And, I'm not a Reichian in the sense of somebody who thinks he was the greatest scientist who ever lived and discovered the basic secrets of psychology, physics and everything else, all in one lifetime. But I think he has enough sound ideas that his unpopular ideas deserve further investigation.

1890s, The Path of the Law (1897)

The Paris Review interview (1982)
Context: I never wrote my books especially for children. … When I sat down to write Mary Poppins or any of the other books, I did not know children would read them. I’m sure there must be a field of “children’s literature” — I hear about it so often — but sometimes I wonder if it isn’t a label created by publishers and booksellers who also have the impossible presumption to put on books such notes as “from five to seven” or “from nine to twelve.” How can they know when a book will appeal to such and such an age?
If you look at other so-called children’s authors, you’ll see they never wrote directly for children. Though Lewis Carroll dedicated his book to Alice, I feel it was an afterthought once the whole was already committed to paper. Beatrix Potter declared, “I write to please myself!” And I think the same can be said of Milne or Tolkien or Laura Ingalls Wilder.
I certainly had no specific child in mind when I wrote Mary Poppins. How could I? If I were writing for the Japanese child who reads it in a land without staircases, how could I have written of a nanny who slides up the banister? If I were writing for the African child who reads the book in Swahili, how could I have written of umbrellas for a child who has never seen or used one?
But I suppose if there is something in my books that appeals to children, it is the result of my not having to go back to my childhood; I can, as it were, turn aside and consult it (James Joyce once wrote, “My childhood bends beside me”). If we’re completely honest, not sentimental or nostalgic, we have no idea where childhood ends and maturity begins. It is one unending thread, not a life chopped up into sections out of touch with one another.
Once, when Maurice Sendak was being interviewed on television a little after the success of Where the Wild Things Are, he was asked the usual questions: Do you have children? Do you like children? After a pause, he said with simple dignity: “I was a child.” That says it all.<!--
But don’t let me leave you with the impression that I am ungrateful to children. They have stolen much of the world’s treasure and magic in the literature they have appropriated for themselves. Think, for example, of the myths or Grimm’s fairy tales — none of which were written especially for them — this ancestral literature handed down by the folk. And so despite publishers’ labels and my own protestations about not writing especially for them, I am grateful that children have included my books in their treasure trove.

Vol. VI, p 5, "First Talk in Rajahmundry (20 November 1949) http://www.jkrishnamurti.com/krishnamurti-teachings/view-text.php?tid=335&chid=4655&w=%22You+cannot+find+truth+through+anybody+else%22, J.Krishnamurti Online, JKO Serial No. 491120
Posthumous publications, The Collected Works
Context: You cannot find truth through anybody else. How can you? Surely, truth is not something static; it has no fixed abode; it is not an end, a goal. On the contrary, it is living, dynamic, alert, alive. How can it be an end? If truth is a fixed point, it is no longer truth; it is then a mere opinion. Sir, truth is the unknown, and a mind that is seeking truth will never find it. For mind is made up of the known; it is the result of the past, the outcome of time — which you can observe for yourself. Mind is the instrument of the known; hence it cannot find the unknown; it can only move from the known to the known. When the mind seeks truth, the truth it has read about in books, that "truth" is self-projected, for then the mind is merely in pursuit of the known, a more satisfactory known than the previous one. When the mind seeks truth, it is seeking its own self-projection, not truth. After all, an ideal is self-projected; it is fictitious, unreal. What is real is what is, not the opposite. But a mind that is seeking reality, seeking God, is seeking the known. When you think of God, your God is the projection of your own thought, the result of social influences. You can think only of the known; you cannot think of the unknown, you cannot concentrate on truth. The moment you think of the unknown, it is merely the self-projected known. So, God or truth cannot be thought about. If you think about it, it is not truth. Truth cannot be sought; it comes to you. You can go after only what is known. When the mind is not tortured by the known, by the effects of the known, then only can truth reveal itself. Truth is in every leaf, every tear; it is to be known from moment to moment. No one can lead you to truth; and if anyone leads you, it can only be to the known.

Source: Education of a Wandering Man (1989), Ch. 11
Context: How much of what we do is free will, and how much is programmed in our genes? Why is each people so narrow that it believes that it, and it alone, has all the answers?
In religion, is there but one road to salvation? Or are there many, all equally good, all going in the same general direction?
I have read my books by many lights, hoarding their beauty, their wit or wisdom against the dark days when I would have no book, nor a place to read. I have known hunger of the belly kind many times over, but I have known a worse hunger: the need to know and to learn.

Section 3 : Work Democracy versus Politics. The Natural Social Forces for the Mastery of the Emotional Plague
The Mass Psychology of Fascism (1933), Ch. 10 : Work Democracy
Context: Rulers and generals muster their troops. Magnates muster the sums of money which give them power. The fascist dictators muster the irrational human reactions which make it possible for them to attain and maintain their power over the masses. The scientists muster knowledge and means of research. But, thus far, no organization fighting for freedom has ever mustered the biological arsenal where the weapons are to be found for the establishment and the maintenance of human freedom. All precision of our social existence notwithstanding, there is as yet no definition of the word freedom which would be in keeping with natural science. No word is more misused and misunderstood.
To define freedom is the same as to define sexual health. But nobody will openly admit this. The advocacy of personal and social freedom is connected with anxiety and guilt feelings. As if to be free were a sin or at least not quite as it should be. Sex-economy makes this guilt feeling comprehensible: freedom without sexual self-determination is in itself a contradiction. But to be sexual means — according to the prevailing human structure — to be sinful or guilty. There are very few people who experience sexual love without guilt feeling. "Free love" has acquired a degrading meaning: it lost the meaning given it by the old fighters for freedom. In films and in books, to be genital and to be criminal are presented as the same thing.

"Elizabeth Hand on Mortal Love at HarperCollins (2004)
Context: I never think about genre when I work. I've written fantasy, science fiction, supernatural fiction, and am now working on a suspense novel. Genres are mostly useful as a marketing tool, and to help booksellers known where to shelve a book.

NOW interview (2004)
Context: I wasn't gonna paint. And I wasn't gonna do ostentatious drawings. I wasn't gonna have gallery pictures. I was gonna hide somewhere where nobody would find me and express myself entirely. I'm like a guerrilla warfare in my best books.

As quoted in "Mansfield Park and Film : An Interview with Patricia Rozema" by Hiba Moussa, in Literature/Film Quarterly 32, No. 4 (2004), p. 255
Context: You cannot underestimate what a radical thing it is to change from one art form to another. An author slaves to start with just the right word, phrase, sentence, and paragraph. The sounds of the words are crucial. But all the demands of words and prose are lifted when you make a movie. The physical presence makes many unnecessary and some necessary ones impossible. So you serve two masters as an adapting filmmaker: the author's intention and the needs of film. Sometimes "fidelity" can mean only focusing on one day of a story told over twenty years in a book.

The Other World (1657)
Context: When I opened a box, I found inside something made of metal, somewhat like our clocks, full of an endless number of little springs and tiny machines. It was indeed a book, but it was a miraculous one that had no pages or printed letters. It was a book to be read not with eyes but with ears. When anyone wants to read, he winds up the machine with a large number of keys of all kinds. Then he turns the indicator to the chapter he wants to listen to. As though from the mouth of a person or a musical instrument come all the distinct and different sounds that the upper-class Moon-beings use in their language.
When I thought about this marvelous way of making books, I was no longer surprised that the young people of that country know more at the age of sixteen or eighteen than the greybeards of our world. They can read as soon as they can talk and are never at a loss for reading material. In their rooms, on walks, in town, during voyages, on foot or on horseback, they can have thirty books in their pockets or hanging on the pommels of their saddles. They need only wind a spring to hear one or more chapters or a whole book, if they wish. Thus you always have with you all the great men, both living and dead, who speak to you in their own voices.

"The Tosh Horse," The New Statesman (1925); later included in Strange Necessity: Essays and Reviews (1928), ch. 11

"Ed Gorman Calling: We Talk to Richard Matheson" http://www.mysteryfile.com/Matheson/Interview.html (2004).

House of Incest (1936)
Context: The morning I got up to begin this book I coughed. Something was coming out of my throat: it was strangling me. I broke the thread which held it and yanked it out. I went back to bed and said: I have just spat out my heart.

Source: The Book on the Taboo Against Knowing Who You Are (1966), p. 84-85

A Narrative of Some of the Lord's Dealings with George Müller Written by Himself, First Part.
First Part of Narrative

1960s, How Long, Not Long (1965)
Context: Our whole campaign in Alabama has been centered around the right to vote. In focusing the attention of the nation and the world today on the flagrant denial of the right to vote, we are exposing the very origin, the root cause, of racial segregation in the Southland. Racial segregation as a way of life did not come about as a natural result of hatred between the races immediately after the Civil War. There were no laws segregating the races then. And as the noted historian, C. Vann Woodward, in his book, The Strange Career of Jim Crow, clearly points out, the segregation of the races was really a political stratagem employed by the emerging Bourbon interests in the South to keep the southern masses divided and southern labor the cheapest in the land. You see, it was a simple thing to keep the poor white masses working for near-starvation wages in the years that followed the Civil War. Why, if the poor white plantation or mill worker became dissatisfied with his low wages, the plantation or mill owner would merely threaten to fire him and hire former Negro slaves and pay him even less. Thus, the southern wage level was kept almost unbearably low. Toward the end of the Reconstruction era, something very significant happened. That is what was known as the Populist Movement. The leaders of this movement began awakening the poor white masses and the former Negro slaves to the fact that they were being fleeced by the emerging Bourbon interests. Not only that, but they began uniting the Negro and white masses into a voting bloc that threatened to drive the Bourbon interests from the command posts of political power in the South. To meet this threat, the southern aristocracy began immediately to engineer this development of a segregated society. I want you to follow me through here because this is very important to see the roots of racism and the denial of the right to vote. Through their control of mass media, they revised the doctrine of white supremacy. They saturated the thinking of the poor white masses with it, thus clouding their minds to the real issue involved in the Populist Movement. They then directed the placement on the books of the South of laws that made it a crime for Negroes and whites to come together as equals at any level. And that did it. That crippled and eventually destroyed the Populist Movement of the nineteenth century.

Afterword to The Dud Avocado (2006)
Context: Halfway through writing the book, I still had no title. It came wonderfully into being when I complimented my host at a party on his flourishing avocado plant. I said, I’d kept trying and failing with my own avocado pits. Someone said, what you’ve got is a dud avocado, and Ken said, that’s a good title for a novel. I thought, this title is mine, and it was. Ken and I had the same agent, and for a publisher we decided on Victor Gollancz, who was so good with first novels. Wonderfully, he accepted it, but with several caveats. He didn’t like the title. It sounded like a cookbook. He also wanted me to write under my married name. I said no to both. He accepted. He decided it needed a subtitle, "La Vie Amoureuse of Sally Jay in Paris." I said, Oh no, no! He said, this was the first time in his experience that an unknown writer had complained about a book cover. However, he did put on the book’s jacket that the subtitle was the publisher’s. Ken read it in proof and said, "You’ve got a thumping great best-seller here." Curiously, the first thing I felt was relief. I believed him. No one could predict how a play or novel would be received by the public like Ken could. And only then was I set free to let excitement take hold of me.

Source: Analysis Patterns: Reusable Object Models, 1997, p. 314

Author's Note
How The Hell Did This Happen? (2017)

1960s, Freedom From The Known (1969)
Context: For centuries we have been spoon-fed by our teachers, by our authorities, by our books, our saints. We say, "Tell me all about it — what lies beyond the hills and the mountains and the earth?" and we are satisfied with their descriptions, which means that we live on words and our life is shallow and empty. We are secondhand people. We have lived on what we have been told, either guided by our inclinations, our tendencies, or compelled to accept by circumstances and environment. We are the result of all kinds of influences and there is nothing new in us, nothing that we have discovered for ourselves; nothing original, pristine, clear.

Source: Flatland: A Romance of Many Dimensions (1884), PART I: THIS WORLD, Chapter 12. Of the Doctrine of our Priests
Context: About three hundred years ago, it was decreed by the Chief Circle that, since women are deficient in Reason but abundant in Emotion, they ought no longer to be treated as rational, nor receive any mental education. The consequence was that they were no longer taught to read, nor even to master Arithmetic enough to enable them to count the angles of their husband or children; and hence they sensibly declined during each generation in intellectual power. And this system of female non-education or quietism still prevails.My fear is that, with the best intentions, this policy has been carried so far as to react injuriously on the Male Sex.For the consequence is that, as things now are, we Males have to lead a kind of bi-lingual, and I may almost say bi-mental, existence. With Women, we speak of "love", "duty", "right", "wrong", "pity", "hope", and other irrational and emotional conceptions, which have no existence, and the fiction of which has no object except to control feminine exuberances; but among ourselves, and in our books, we have an entirely different vocabulary and I may almost say, idiom. "Love" then becomes "the anticipation of benefits"; "duty" becomes "necessity" or "fitness"; and other words are correspondingly transmuted. Moreover, among Women, we use language implying the utmost deference for their Sex; and they fully believe that the Chief Circle Himself is not more devoutly adored by us than they are: but behind their backs they are both regarded and spoken of — by all except the very young — as being little better than "mindless organisms".

Response to criticism of Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson, as quoted in "20Q: Camille Paglia" by Warren Kalbacker in Playboy magazine (October 1991) http://www.playboy.co.uk/article/16659/20q-camille-paglia; also in Gauntlet # 4 (1992), p. 133
Context: It was intended to please no one and to offend everyone. The entire process of the book was to discover the repressed elements of contemporary culture, whatever they are, and palpate them. One of the main premises was to demonstrate that pornography is everywhere in major art. Art history as written is completely sex free, repressive and puritanical. I want precision and historical knowledge, but at the same time, I try to zap it with pornographic intensity.

Section 4.4 <!-- p. 198 - 199-->
The Crosswicks Journal, A Circle of Quiet (1972)
Context: "Why do you write for children?" My immediate response to this question is, "I don't."... If it's not good enough for adults, it's not good enough for children. If a book that is going to be marketed for children does not interest me, a grownup, then I am dishonoring the children for whom the book is intended, and I am dishonoring books. And words.
Sometimes I answer that if I have something I want to say that is too difficult for adults to swallow, then I will write it in a book for children. This is usually good for a slightly startled laugh, but it's perfectly true. Children still haven't closed themselves off with fear of the unknown, fear of revolution, or the scramble for security. They are still familiar with the inborn vocabulary of myth. It was adults who thought that children would be afraid of the Dark Thing in Wrinkle, not children, who understand the need to see thingness, non-ness, and to fight it.

Mr. Scratch
Source: The Devil and Daniel Webster (1937)
Context: When the first wrong was done to the first Indian, I was there. When the first slaver put out for the Congo, I stood on her deck. Am I not in your books and stories and beliefs, from the first settlements on? Am I not spoken of, still, in every church in New England? 'Tis true the North claims me for a Southerner and the South for a Northerner, but I am neither. I am merely an honest American like yourself — and of the best descent — for, to tell the truth, Mr. Webster, though I don't like to boast of it, my name is older in this country than yours.

Source: Social Problems (1883), Ch. 21 : Conclusion
Context: I ask no one who may read this book to accept my views. I ask him to think for himself.
Whoever, laying aside prejudice and self-interest, will honestly and carefully make up his own mind as to the causes and the cure of the social evils that are so apparent, does, in that, the most important thing in his power toward their removal. This primary obligation devolves upon us individually, as citizens and as men. Whatever else we may be able to do, this must come first. For "if the blind lead the blind, they both shall fall into the ditch."
Social reform is not to be secured by noise and shouting; by complaints and denunciation; by the formation of parties, or the making of revolutions; but by the awakening of thought and the progress of ideas. Until there be correct thought, there cannot be right action; and when there is correct thought, right action will follow. Power is always in the hands of the masses of men. What oppresses the masses is their own ignorance, their own short-sighted selfishness.

2012, Interview given in Japan, 2012
Context: How can you come to this conclusion? Do you have any statement in my whole life [in which] I've ever said anything wrong against any religion? Any religious book? Any prophet? Any god? Do you have any single sentence? How one can be "anti"? And, I belong to the Hindu phil [... ] and I belong to the India, the Bharat! Where our great traditions are there. What is our philosophy? We never say that "if you believe in my philosophy, then you will achieve your goal". What we say [is] that ekam sat viprah bahudha vadanti: "truth is one, [but] sages call it in a different way". So we don't believe. We believe in one god.

"A Note To The Reader".
The Way of Chuang-Tzŭ (1965)
Context: Ecclesiastes is a book of earth, and the Gospel ethic is an ethic of revelation made on earth of a God Incarnate. The "Little Way" of Therese of Lisieux is an explicit renunciation of all exalted and disincarnate spiritualities that divide man against him­ self, putting one half in the realm of angels and the other in an earthly hell. For Chuang Tzu, as for the Gospel, to lose one's life is to save it, and to seek to save it for one's own sake is to lose it. There is an affirmation of the world that is nothing but ruin and loss. There is a renunciation of the world that finds and saves man in his own home, which is God's world. In any event, the "way" of Chuang Tzu is mysterious because it is so simple that it can get along without being a way at all. Least of all is it a "way out." Chuang Tzu would have agreed with St. John of the Cross, that you enter upon this kind of way when you leave all ways and, in some sense, get lost.

"Political Correctness: Robert Bly and Philip Larkin" (1997)
Context: In Andrew Motion's book, we have the constant sense that Larkin is somehow falling short of the cloudless emotional health enjoyed by, for instance, Andrew Motion. Also the sense, as Motion invokes his like-minded contemporaries, that Larkin is being judged by a newer, cleaner, braver, saner world. … Motion is extremely irritated by Larkin's extreme irritability. He's always complaining that Larkin is always complaining.

Source: It's Not About the Bike: My Journey Back to Life (2000), p. 113
Context: I wished hard, but I didn't pray. I had developed a certain distrust of organized religion growing up, but I felt I had the capacity to be a spiritual person, and to hold some fervent beliefs. Quite simply, I believed I had a responsiblity to be a good person, and that meant fair, honest, hardworking, and honorable. If I did that, if I was good to my family, true to my friends, if I gave back to my community or to some cause, if I wasn't a liar, a cheat, or a thief, then I believed that should be enough. At the end of the day, if there was indeed some Body or presence standing there to judge me, I hoped I would be judged on whether I had lived a true life, not on whether I believed in a certain book, or whether I'd been baptized. If there was indeed a God at the end of my days, I hoped he didn't say, "But you were never a Christian, so you're going the other way from heaven." If so, I was going to reply, "You know what? You're right. Fine."

The trial of Charles B. Reynolds for blasphemy (1887)
Context: Blasphemy is what an old mistake says of a newly discovered truth.
Blasphemy is what a withered last year's leaf says to a this year's bud.
Blasphemy is the bulwark of religious prejudice.
Blasphemy is the breastplate of the heartless.
And let me say now, that the crime of blasphemy, as set out in this statute, is impossible. No man can blaspheme a book. No man can commit blasphemy by telling his honest thought. No man can blaspheme a God, or a Holy Ghost, or a Son of God. The Infinite cannot be blasphemed.

"Building a Moral Society", Chamberlin Lecture at Lewis & Clark College (1995)
Context: An immoral society betrays humanity because it betrays the basis for humanity, which is memory. An immoral society deals with memory as some politicians deal with politics. A moral society is committed to memory: I believe in memory. The Greek word alethia means Truth, Things that cannot be forgotten. I believe in those things that cannot be forgotten and because of that so much in my work deals with memory... What do all my books have in common? A commitment to memory.

1960s, Beyond Vietnam: A Time to Break Silence (1967)
Context: There is an invisible book of life that faithfully records our vigilance or our neglect. Omar Khayyam is right: "The moving finger writes, and having writ moves on."

We Are Still Married : Stories & Letters (1989),, "The Meaning of Life", p. 217 <!-- Viking -->
Context: To know and to serve God, of course, is why we're here, a clear truth, that, like the nose on your face, is near at hand and easily discernible but can make you dizzy if you try to focus on it hard. But a little faith will see you through. What else will do except faith in such a cynical, corrupt time? When the country goes temporarily to the dogs, cats must learn to be circumspect, walk on fences, sleep in trees, and have faith that all this woofing is not the last word. What is the last word, then? Gentleness is everywhere in daily life, a sign that faith rules through ordinary things: through cooking and small talk, through storytelling, making love, fishing, tending animals and sweet corn and flowers, through sports, music and books, raising kids — all the places where the gravy soaks in and grace shines through. Even in a time of elephantine vanity and greed, one never has to look far to see the campfires of gentle people.

Parliament of Whores (1991)

Detached Thoughts on Books and Reading.
Last Essays of Elia (1833)

This comprehensive statement was arrived at by examining the statutes of those seven states that have remained in the Dark Ages, so that I might satisfy their definitions of blasphemy.
Skeptic Magazine, 1995 (Volume 3, No. 4) http://www.petting-zoo.net/~deadbeef/archive/383.html, stated in an unsuccessful effort to be officially charged with blasphemy http://www.celebatheists.com/?title=James_Randi.

Saturday Review (29 October 1960), p. 44
1960
Context: If this nation is to be wise as well as strong, if we are to achieve our destiny, then we need more new ideas for more wise men reading more good books in more public libraries. These libraries should be open to all — except the censor. We must know all the facts and hear all the alternatives and listen to all the criticisms. Let us welcome controversial books and controversial authors. For the Bill of Rights is the guardian of our security as well as our liberty.

Afterword to The Dud Avocado (2006)
Context: The reviews were excellent and the book quickly went into a second printing. Then one night Ken came home and threw a copy of the book out the window. "You weren’t a writer when I married you, you were an actress," he said angrily. Obviously his colleagues had been riding him because of the attention I was receiving. I was shattered. The next day, he said, "I’ve been rereading your book. There’s love on every page." And then he gave me a beautiful red leather-bound copy of it with the inscription: "From the Critic to the Author." Looking at it I felt a pang. I wondered if it was his admission of what I’d done that he had not.
To my wonder and, it appeared, his annoyance, the book wouldn’t go away.

Journal entry in Audubon and His Journals (1897), edited by Maria R. Audubon, Vol. I, "The European Journals 1826 - 1829", p. 184

De Abaitua interview (1998)
Context: There are books that have devastated continents, destroyed thousands. What war hasn’t been a war of fiction? All the religious wars certainly, or the fiction of communism versus the fiction of capitalism – ideas, fictions, shit that people make. They have made a vast impression on the real world. It is the real world. Are thoughts not real? I believe it was Wittgenstein who said a thought is a real event in space and time. I don’t quite agree about the space and time bit, Ludwig, but certainly a real event. It’s only science that cannot consider thought as a real event, and science is not reality. It’s a map of reality, and not a very good one. It’s good, it’s useful, but it has its limits. We have to realise that the map has its edges. One thing that is past the edge is any personal experience. That is why magic is a broader map to me, it includes science. It’s the kind of map we need if we are to survive psychologically in the age that is to come, whatever that is. We need a bigger map because the old one is based on an old universe where not many of us live anymore. We have to understand what we are dealing with here because it is dangerous. It kills people. Art kills.

De Abaitua interview (1998)
Context: Annie Besant’s book where she put forward the idea that theosophical mystical energies could be portrayed as colours or abstract shapes was practically the invention of abstract art. A lot of artists rushed out and read it and suddenly thought, ‘oh God you could, you could portray love as a colour, or depression as a colour” All of a sudden abstract art happens, a flowering out of occultism.

The Tragic Sense of Life (1913), IV : The Essence of Catholicism
Context: And why be scandalized by the infallibility of a man, of the Pope? What difference does it make whether it be a book that is infallible — the Bible, or a society of men — the Church, or a single man? Does it make any essential change in the rational difficulty? And since the infallibility of a book or of a society of men is not more rational than that of a single man, this supreme offense to the eyes of reason has to be postulated.

The Paris Review interview (1982)
Context: You know C. S. Lewis, whom I greatly admire, said there’s no such thing as creative writing. I’ve always agreed with that and always refuse to teach it when given the opportunity. He said there is, in fact, only one Creator and we mix. That’s our function, to mix the elements He has given us. See how wonderfully anonymous that leaves us? You can’t say, “I did this; this gross matrix of flesh and blood and sinews and nerves did this.” What nonsense! I’m given these things to make a pattern out of. Something gave it to me.
I’ve always loved the idea of the craftsman, the anonymous man. For instance, I’ve always wanted my books to be called the work of Anon, because Anon is my favorite literary character. If you look through an anthology of poems that go from the far past into the present time, you’ll see that all the poems signed “Anon” have a very specific flavor that is one flavor all the way through the centuries. I think, perhaps arrogantly, of myself as “Anon.” I would like to think that Mary Poppins and the other books could be called back to make that change. But I suppose it’s too late for that.

Source: To the Memory of My Beloved, the Author, Mr. William Shakespeare (1618), Lines 17 - 24; this was inspired by a eulogy by William Basse, On Shakespeare:
Context: Soul of the age!
The applause, delight, the wonder of our stage!
My Shakespeare, rise; I will not lodge thee by
Chaucer or Spenser, or bid Beaumont lie
A little further, to make thee a room;
Thou art a monument, without a tomb,
And art alive still, while thy book doth live,
And we have wits to read, and praise to give.

Dedication
Casuals of the Sea (1916)
Context: To those who live and toil and lowly die,
Who past beyond and leave no lasting trace,
To those from whom our queen Prosperity
Has turned away her fair and fickle face;
To those frail craft upon the restless Sea
Of Human Life, who strike the rocks uncharted,
Who loom, sad phantoms, near us, drearily,
Storm-driven, rudderless, with timbers started;
To those poor Casuals of the way-worn earth,
The feckless wastage of our cunning schemes,
This book is dedicate, their hidden worth
And beauty I have seen in vagrant dreams!
The things we touch, the things we dimly see,
The stiff strange tapestries of human thought,
The silken curtains of our fantasy
Are with their sombre histories o'erwrought.
And yet we know them not, our skill is vain to find
The mute soul's agony, the visions of the blind.

Source: Education of a Wandering Man (1989), Ch. 1
Context: A great book begins with an idea; a great life, with a determination.
My life may not be great to others, but to me it has been one of steady progression, never dull, often exciting, often hungry, tired, and lonely, but always learning. Somewhere back down the years I decided, or my nature decided for me, that I would be a teller of stories.
Decisions had to be made and there was nobody but me to make them. My course altered a number of times but never deviated from the destination I had decided upon. Whether this was altogether a matter of choice I do not know. Perhaps my early reading and the storytelling at home had preconditioned me for the role I adopted.
Somewhere along the line I had fallen in love with learning, and it became a lifelong romance. Early on I discovered it was fun to follow along the byways of history to find those treasures that await any searcher. It may be that all later decisions followed naturally from that first one.
One thing has always been true: That book or that person who can give me an idea or a new slant on an old idea is my friend.

Source: An Introduction to the History of Western Europe (1902), Ch. 1 : The Historical Point of View, p. 4
Context: !-- The French Revolution, at the end of the eighteenth century, was probably the most abrupt and thoroughgoing change in the habits of a nation of which we have any record. But we shall find, when we come to study it, that it was by no means so sudden in reality as is ordinarily supposed. Moreover, the innovators did not even succeed in permanently altering the form of government; for when the French, after living under a monarchy for many centuries, set up a republic in 1792, the new government lasted only a few years. The nation was monarchical by habit and soon gladly accepted the rule of Napoleon, which was more despotic than that of any of its former kings. In reorganizing the state he borrowed much from the discarded monarchy, and the present French republic still retains many of these arrangements.
--> This tendency of mankind to do, in general, this year what it did last, in spite of changes in some one department of life, — such as substituting a president for a king, traveling by rail instead of on horseback, or getting the news from a newspaper instead of from a neighbor, — results in what is called the unity or continuity of history. The truth that no abrupt change has ever taken place in all the customs of a people, and that it cannot, in the nature of things, take place, is perhaps the most fundamental lesson that history teaches.
Historians sometimes seem to forget this principle, when they claim to begin and end their books at precise dates.

The Paris Review interview (1982)
Context: I’ve always been interested in the Mother Goddess. Not long ago, a young person, whom I don’t know very well, sent a message to a mutual friend that said: “I’m an addict of Mary Poppins, and I want you to ask P. L. Travers if Mary Poppins is not really the Mother Goddess.” So, I sent back a message: “Well, I’ve only recently come to see that. She is either the Mother Goddess or one of her creatures — that is, if we’re going to look for mythological or fairy-tale origins of Mary Poppins.”
I’ve spent years thinking about it because the questions I’ve been asked, very perceptive questions by readers, have led me to examine what I wrote. The book was entirely spontaneous and not invented, not thought out. I never said, “Well, I’ll write a story about Mother Goddess and call it Mary Poppins.” It didn’t happen like that. I cannot summon up inspiration; I myself am summoned.
Once, when I was in the United States, I went to see a psychologist. It was during the war when I was feeling very cut off. I thought, Well, these people in psychology always want to see the kinds of things you’ve done, so I took as many of my books as were then written. I went and met the man, and he gave me another appointment. And at the next appointment the books were handed back to me with the words: “You know, you don’t really need me. All you need to do is read your own books.”
That was so interesting to me. I began to see, thinking about it, that people who write spontaneously as I do, not with invention, never really read their own books to learn from them. And I set myself to reading them. Every now and then I found myself saying, “But this is true. How did she know?” And then I realized that she is me. Now I can say much more about Mary Poppins because what was known to me in my blood and instincts has now come up to the surface in my head.

Source: Aphorisms and Reflections (1901), pp. 11-12
Context: The multitude are matter-of-fact. They live in commonplace concerns and interests. Their problems are, how to get more plentiful and better food and drink, more comfortable and beautiful clothing, more commodious dwellings, for themselves and their children. When they seek relaxation from their labors for material things, they gossip of the daily happenings, or they play games or dance or go to the theatre or club, or they travel or they read story books, or accounts in the newspapers of elections, murders, peculations, marriages, divorces, failures and successes in business; or they simply sit in a kind of lethargy. They fall asleep and awake to tread again the beaten path. While such is their life, it is not possible that they should take interest or find pleasure in religion, poetry, philosophy, or art. To ask them to read books whose life-breath is pure thought and beauty is as though one asked them to read things written in a language they do not understand and have no desire to learn. A taste for the best books, as a taste for whatever is best, is acquired; and it can be acquired only by long study and practice. It is a result of free and disinterested self-activity, of efforts to attain what rarely brings other reward than the consciousness of having loved and striven for the best. But the many have little appreciation of what does not flatter or soothe the senses. Their world, like the world of children and animals, is good enough for them; meat and drink, dance and song, are worth more, in their eyes, than all the thoughts of all the literatures. A love tale is better than a great poem, and the story of a bandit makes Plutarch seem tiresome. This is what they think and feel, and what, so long as they remain what they are, they will continue to think and feel. We do not urge a child to read Plato—why should we find fault with the many for not loving the best books?

Source: The Philosophical and Mathematical Commentaries of Proclus on the First Book of Euclid's Elements Vol. 1 (1788), Ch. IV. On the Origin of Geometry, and its Inventors.

Preface.
A Treatise on Language: Or, The Relation which Words Bear to Things, in Four Parts (1836)
Context: All that the book contains is the elucidation of but one precept: namely, to interpret language by nature. We [generally and incorrectly] reverse the rule and interpret nature by language.

Equinox (1973)
Context: It is a magic book. Words mean things. When you put them together they speak. Yes, sometimes they flatten out and nothing they say is real, and that is one kind of magic. But sometimes a vision will rip up from them and shriek and clank wings clear as the sweat smudge on the paper under your thumb. And that is another kind. (p. 163)

Source: Guide for the Perplexed (c. 1190), Part III, Ch.23
Context: As there is a difference between works of nature and productions of human handicraft, so there is a difference between God's rule, providence, and intention in reference to all natural forces, and our rule, providence, and intention in reference to things which are the objects of our rule, providence, and intention. This lesson is the principal object of the whole Book of Job; it lays down this principle of faith, and recommends us to derive a proof from nature, that we should not fall into the error of imagining His knowledge to be similar to ours, or His intention, providence, and rule similar to ours. When we know this, we shall find everything that may befall us easy to bear; mishap will create no doubts in our hearts concerning God, whether He knows our affairs or not, whether He provides for us or abandons us. On the contrary, our fate will increase our love of God; as is said in the end of this prophecy: "Therefore I abhor myself and repent concerning the dust and ashes" (xlii. 6); and as our Sages say: "The pious do everything out of love, and rejoice in their own afflictions." If you pay to my words the attention which this treatise demands, and examine all that is said in the Book of Job, all will be clear to you, and you will find that I have grasped and taken hold of the whole subject; nothing has been left unnoticed, except such portions as are only introduced because of the context and the whole plan of the allegory. I have explained this method several times in the course of this treatise.

The Evolution of A Revolt (1920)
Context: Nine-tenths of tactics are certain, and taught in books: but the irrational tenth is like the kingfisher flashing across the pool, and that is the test of generals. It can only be ensured by instinct, sharpened by thought practicing the stroke so often that at the crisis it is as natural as a reflex.

Letter 107
Letters

Language Education in a Knowledge Context (1980)
Context: Of writing that is filled with mechanical and grammatical error, as compared with writing that conforms to the rules of standard edited English. Surely, we do not want to say that there is a necessary correlation between mechanical and editorial accuracy and intellectual substance. There are many books that are mechanically faultless but which contain untrue, unclear, or even nonsensical ideas. Carefully edited writing tells us, not that the writer speaks truly, but that he or she grasps... the manner in which knowledge is usually expressed. The most devastating argument against a paper that is marred by grammatical and rhetorical error is that the writer does not understand the subject.

"The Larger College".
In Classic Shades, and Other Poems (1890)
Context: p>Behold this sea, that sapphire sky!
Where nature does so much for man,
Shall man not set his standard high,
And hold some higher, holier plan?
Some loftier plan than ever planned
By outworn book of outworn land?Where God has done so much for man,
Shall man for God do aught at all?
The soul that feeds on books alone —
I count that soul exceeding small
That lives alone by book and creed,—
A soul that has not learned to read.</p

On life in hiding from Nazi authorities, p. 48
To Save a Life: Stories of Holocaust Rescue (2000)
Context: One of the things I learned, one of the strangest things, is how to think. There was nothing else to do. I couldn't see people, or go for a walk in the forest. All I had was my head and my books, and I thought a lot. I learned, because there was no interruption. I had access to myself, to my thinking. I wouldn't say that I particularly matured. The thinking was physics thinking. I was just short of twenty-two then.
I was in hiding for two years and two months, something like that. In all that time I went out very, very little, just once in a great while, after dark. Once I even took the train to Utrecht, forty miles from Amsterdam, with my yellow star, this star which I still have. Why did I go? I just wanted to visit some friends. I was a little bit crazy, a little bit insane.

Some Mistakes of Moses (1879) http://www.gutenberg.org/files/38802/38802-h/38802-h.htm Preface
Context: Too great praise challenges attention, and often brings to light a thousand faults that otherwise the general eye would never see. Were we allowed to read the Bible as we do all other books, we would admire its beauties, treasure its worthy thoughts, and account for all its absurd, grotesque and cruel things, by saying that its authors lived in rude, barbaric times. But we are told that it was written by inspired men; that it contains the will of God; that it is perfect, pure, and true in all its parts; the source and standard of all moral and religious truth; that it is the star and anchor of all human hope; the only guide for man, the only torch in Nature's night. These claims are so at variance with every known recorded fact, so palpably absurd, that every free unbiased soul is forced to raise the standard of revolt.

"That's Just What You Are" · Video https://www.youtube.com/watch?v=ArXL7uEQsEg
Song lyrics, I'm with Stupid (1995)
Context: In our endeavor we are never seeing eye to eye;
No guts to sever so forever may we wave goodbye.
And you're always telling me that it's my turn to move,
When I wonder what could make the needle jump the groove.
I won't fall for the oldest trick in the book,
So don't sit there and think you're off of the hook.
By saying there is no use changing 'causeThat's just what you are.
That's just what you are.

Nobel Prize Speech (1954)
Context: Things may not be immediately discernible in what a man writes, and in this sometimes he is fortunate; but eventually they are quite clear and by these and the degree of alchemy that he possesses he will endure or be forgotten. Writing, at its best, is a lonely life. Organizations for writers palliate the writer's loneliness but I doubt if they improve his writing. He grows in public stature as he sheds his loneliness and often his work deteriorates. For he does his work alone and if he is a good enough writer he must face eternity, or the lack of it, each day. For a true writer each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed.

Source: Native Son (1940), p. xxvii

Source: How To Do It (1871), Ch. IV : How To Write
Context: You may divide literature into two great classes of books. The smaller class of the two consists of the books written by people who had something to say. They had in life learned something, or seen something, or done something, which they really wanted and needed to tell to other people. They told it. And their writings make, perhaps, a twentieth part of the printed literature of the world. It is the part which contains all that is worth reading. The other nineteen-twentieths make up the other class.

Source: Essays In Biography (1933), Preface, p. viii
Context: I have sought with some touches of detail to bring out the solidarity and historical continuity of the High Intelligentsia of England, who have built up the foundations of our thought in the two and a half centuries, since Locke, in his Essay Concerning Human Understanding, wrote the first modern English book. I relate below the amazing progeny of Sir George Villiers. But the lineage of the High Intelligentsia is hardly less interbred and spiritually inter-mixed. Let the Villiers Connection fascinate the monarch or the mob and rule, or seem to rule, passing events. There is also a pride of sentiment to claim spiritual kinship with the Locke Connection and that long English line, intellectually and humanly linked with one another, to which the names in my second section belong. If not the wisest, yet the most truthful of men. If not the most personable, yet the queerest and sweetest. If not the most practical, yet of the purest public conscience. If not of high artistic genius, yet the most solid and sincere accomplishment within many of the fields which are ranged by the human mind.

Acceptance speech http://www.bookcritics.org/?go=leonardAcceptanceSpeech, National Book Critics Circle 2006 Ivan Sandrof Lifetime Achievement Award (8 March 2007)
Context: My whole life I have been waving the names of writers, as if we needed rescue. From these writers, for almost 50 years, I have received narrative, witness, companionship, sanctuary, shock, and steely strangeness; good advice, bad news, deep chords, hurtful discrepancy, and amazing grace. At an average of five books a week, not counting all those sighed at and nibbled on before they go to the Strand, I will read 13,000. Then I'm dead. Thirteen thousand in a lifetime, about as many as there are new ones published every month in this country.
It's not enough, and yet rich to excess. The books we love, love us back. In gratitude, we should promise not to cheat on them — not to pretend we're better than they are; not to use them as target practice, agit-prop, trampolines, photo ops or stalking horses; not to sell out scruple to that scratch-and-sniff info-tainment racket in which we posture in front of experience instead of engaging it, and fidget in our cynical opportunism for an angle, a spin, or a take, instead of consulting compass points of principle, and strike attitudes like matches, to admire our wiseguy profiles in the mirrors of the slicks. We are reading for our lives, not performing like seals for some fresh fish.

1850s, Latter-Day Pamphlets (1850), Stump Orator (May 1, 1850)
Context: If the young aspirant is not rich enough for Parliament, and is deterred by the basilisks or otherwise from entering on Law or Church, and cannot altogether reduce his human intellect to the beaverish condition, or satisfy himself with the prospect of making money,—what becomes of him in such case, which is naturally the case of very many, and ever of more? In such case there remains but one outlet for him, and notably enough that too is a talking one: the outlet of Literature, of trying to write Books. Since, owing to preliminary basilisks, want of cash, or superiority to cash, he cannot mount aloft by eloquent talking, let him try it by dexterous eloquent writing. Here happily, having three fingers, and capital to buy a quire of paper, he can try it to all lengths and in spite of all mortals: in this career there is happily no public impediment that can turn him back; nothing but private starvation—which is itself a finis or kind of goal—can pretend to hinder a British man from prosecuting Literature to the very utmost, and wringing the final secret from her: "A talent is in thee; No talent is in thee." To the British subject who fancies genius may be lodged in him, this liberty remains; and truly it is, if well computed, almost the only one he has.

"The Larger College".
In Classic Shades, and Other Poems (1890)
Context: p>Man's books are but man's alphabet,
Beyond and on his lessons lie — The lessons of the violet,
The large gold letters of the sky; The love of beauty, blossomed soil, The large content, the tranquil toil:The toil that nature ever taught,
The patient toil, the constant stir,
The toil of seas where shores are wrought,
The toil of Christ, the carpenter;
The toil of God incessantly
By palm-set land or frozen sea.</p

Dedication (1960)
Context: There was the book of profile tales declaring
For the emboldened politicians daring
To break with followers when in the wrong,
A healthy independence of the throng,
A democratic form of right divine
To rule first answerable to high design.
There is a call to life a little sterner,
And braver for the earner, learner, yearner.
Less criticism of the field and court
And more preoccupation with the sport.

(24 July 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: There are many words and phrases that should be forever kept out of the hands of book reviewers. It's sad, but true. And one of these is "self-indulgent." And this is one of those things that strikes me very odd, like reviewers accusing an author of writing in a way that seems "artificial" or "self-conscious." It is, of course, a necessary prerequisite of fiction that one employ the artifice of language and that one exist in an intensely self-conscious state. Same with "self-indulgent." What could possibly be more self-indulgent than the act of writing fantastic fiction? The author is indulging her- or himself in the expression of the fantasy, and, likewise, the readers are indulging themselves in the luxury of someone else's fantasy. I've never written a story that wasn't self-indulgent. Neither has any other fantasy or sf author. We indulge our interests, our obsessions, and assume that someone out there will feel as passionately about X as we do.

As quoted in "Bradbury Still Believes in Heat of ‘Fahrenheit 451’" http://community.seattletimes.nwsource.com/archive/?date=19930312&slug=1689996, interview by Misha Berson, in ', credited to "Ray Bradbury, quoted by Misha Berson in Seattle Times", in "Quotable Quotes", The Reader's Digest, Vol. 144, No. 861, January 1994, p. 25 http://books.google.com/books?output=html&id=ZqqUAAAAIAAJ&q=%22people+to+stop+reading%22#search_anchor), or an indirect reference to the re-quoting in Reader's Digest (such as: The Times Book of Quotations (Philip Howard, ed.), 2000, Times Books and HarperCollins, p. 93
Variant: We're not teaching kids to read and write and think. … There's no reason to burn books if you don't read them.
As quoted in "At 80, Ray Bradbury Still Fighting the Future He Foresaw" http://www.raybradbury.com/articles_peoria.html, interview by Roger Moore, in The Peoria Journal Star (August 2000)
Context: The problem in our country isn't with books being banned, but with people no longer reading. Look at the magazines, the newspapers around us – it's all junk, all trash, tidbits of news. The average TV ad has 120 images a minute. Everything just falls off your mind. … You don't have to burn books to destroy a culture. Just get people to stop reading them.

... There are residue dreams which are an extension of our waking life. Then there are what Carl Jung calls "big dreams" and my dream about the Tibetan Book of the Dead was one of those big dreams. One of those can change your life. It can change it for awhile or forever. Those dreams are in the same local time domain as when we have an experience of Holy Spirit.
Interview with Connie Hill at NewConnexion http://www.newconnexion.net/article/09-02/goswami.html (September 2002).

42 min 33 sec
Cosmos: A Personal Voyage (1990 Update), The Persistence of Memory [Episode 11]
Context: What an astonishing thing a book is. It's a flat object made from a tree with flexible parts on which are imprinted lots of funny dark squiggles. But one glance at it and you're inside the mind of another person, maybe somebody dead for thousands of years. Across the millennia, an author is speaking clearly and silently inside your head, directly to you. Writing is perhaps the greatest of human inventions, binding together people who never knew each other, citizens of distant epochs. Books break the shackles of time. A book is proof that humans are capable of working magic.

Source: Guide for the Perplexed (c. 1190), Part III, Ch.23
Context: As there is a difference between works of nature and productions of human handicraft, so there is a difference between God's rule, providence, and intention in reference to all natural forces, and our rule, providence, and intention in reference to things which are the objects of our rule, providence, and intention. This lesson is the principal object of the whole Book of Job; it lays down this principle of faith, and recommends us to derive a proof from nature, that we should not fall into the error of imagining His knowledge to be similar to ours, or His intention, providence, and rule similar to ours. When we know this, we shall find everything that may befall us easy to bear; mishap will create no doubts in our hearts concerning God, whether He knows our affairs or not, whether He provides for us or abandons us. On the contrary, our fate will increase our love of God; as is said in the end of this prophecy: "Therefore I abhor myself and repent concerning the dust and ashes" (xlii. 6); and as our Sages say: "The pious do everything out of love, and rejoice in their own afflictions." If you pay to my words the attention which this treatise demands, and examine all that is said in the Book of Job, all will be clear to you, and you will find that I have grasped and taken hold of the whole subject; nothing has been left unnoticed, except such portions as are only introduced because of the context and the whole plan of the allegory. I have explained this method several times in the course of this treatise.

"I Agree With Me" (July/August 2004)

Zen and the Art of Motorcycle Maintenance (1974), Afterword (1984)
Context: A culture-bearing book, like a mule, bears the culture on its back. No one should sit down to write one deliberately. Culture-bearing books occur almost accidentally, like a sudden change in the stock market. There are books of high quality that are an part of the culture, but that is not the same. They are a part of it. They aren't carrying it anywhere. They may talk about insanity sympathetically, for example, because that's the standard cultural attitude. But they don't carry any suggestion that insanity might be something other than sickness or degeneracy.

Source: In My Own Way: An Autobiography 1915-1965 (1972), p. xiii

The Damned Mob of Scribbling Women http://www.theatlantic.com/entertainment/archive/2011/06/the-damned-mob-of-scribbling-women/239882/ (Jun 3, 2011) The Atlantic. http://www.theatlantic.com
Context: I'm looking to avoid a subtly demeaning subtext which holds that reading, say, is something you should do--like flossing or taxes or laundry. I don't want to speak for women writers, but I recoil at the idea of someone reading my book because they really should read a black author or two. I don't want to be an icebreaker at your corporation's Kwanzaa gathering.

Preface
Alone (1938)
Context: This book is the account of a personal experience — so personal that for four years I could not bring myself to write it. It is different from anything else I have ever written. My other books have been factual, impersonal narratives of my expeditions and flights. This book, on the other hand, is the story of an experience which was in considerable part subjective. I very nearly died before it was over.

Address at Bennington College (30 October 1984) as published in "Reflections of a Writer: Long Work, Short Life" in The New York Times (20 March 1988)
Context: I have written almost all my life. My writing has drawn, out of a reluctant soul, a measure of astonishment at the nature of life. And the more I wrote well, the better I felt I had to write.
In writing I had to say what had happened to me, yet present it as though it had been magically revealed. I began to write seriously when I had taught myself the discipline necessary to achieve what I wanted. When I touched that time, my words announced themselves to me. I have given my life to writing without regret, except when I consider what in my work I might have done better. I wanted my writing to be as good as it must be, and on the whole I think it is. I would write a book, or a short story, at least three times — once to understand it, the second time to improve the prose, and a third to compel it to say what it still must say.
Somewhere I put it this way: first drafts are for learning what one's fiction wants him to say. Revision works with that knowledge to enlarge and enhance an idea, to re-form it. Revision is one of the exquisite pleasures of writing: The men and things of today are wont to lie fairer and truer in tomorrow's meadow, Henry Thoreau said.
I don't regret the years I put into my work. Perhaps I regret the fact that I was not two men, one who could live a full life apart from writing; and one who lived in art, exploring all he had to experience and know how to make his work right; yet not regretting that he had put his life into the art of perfecting the work.

Lecture XX, "Conclusions"
1900s, The Varieties of Religious Experience (1902)
Context: Science... has ended by utterly repudiating the personal point of view. She catalogues her elements and records her laws indifferent as to what purpose may be shown forth by them, and constructs her theories quite careless of their bearing on human anxieties and fates. Though the scientist may individually nourish a religion, and be a theist in his irresponsible hours, the days are over when it could be said that for Science herself the heavens declare the glory of God and the firmament showeth his handiwork. Our solar system, with its harmonies, is seen now as but one passing case of a certain sort of moving equilibrium in the heavens, realized by a local accident in an appalling wilderness of worlds where no life can exist. In a span of time which as a cosmic interval will count but as an hour, it will have ceased to be. The Darwinian notion of chance production, and subsequent destruction, speedy or deferred, applies to the largest as well as to the smallest facts. It is impossible, in the present temper of the scientific imagination, to find in the driftings of the cosmic atoms, whether they work on the universal or on the particular scale, anything but a kind of aimless weather, doing and undoing, achieving no proper history, and leaving no result. Nature has no one distinguishable ultimate tendency with which it is possible to feel a sympathy. In the vast rhythm of her processes... she appears to cancel herself. The books of natural theology which satisfied the intellects of our grandfathers seem to us quite grotesque, representing, as they did, a God who conformed the largest things of nature to the paltriest of our private wants. The God whom science recognizes must be a God of universal laws exclusively, a God who does a wholesale, not a retail business. He cannot accommodate his processes to the convenience of individuals. The bubbles on the foam which coats a stormy sea are floating episodes, made and unmade by the forces of the wind and water. Our private selves are like those bubbles—epiphenomena, as Clifford, I believe, ingeniously called them; their destinies weigh nothing and determine nothing in the world's irremediable currents of events.

Preface to the First Edition
The Open Society and Its Enemies (1945)
Context: If in this book harsh words are spoken about some of the greatest among the intellectual leaders of mankind, my motive is not, I hope, the wish to belittle them. It springs rather from my conviction that, if our civilization is to survive, we must break with the habit of deference to great men. Great men may make great mistakes; and as the book tries to show, some of the greatest leaders of the past supported the perennial attack on freedom and reason. Their influence, too rarely challenged, continues to mislead those on whose defence civilization depends, and to divide them. The responsibility of this tragic and possibly fatal division becomes ours if we hesitate to be outspoken in our criticism of what admittedly is a part of our intellectual heritage. By reluctance to criticize some of it, we may help to destroy it all.

Book V, Introduction
Variant translation: It may well wait a century for a reader, as God has waited six thousand years for an observer.
As quoted in The Martyrs of Science; or, the Lives of Galileo, Tycho Brahe, and Kepler (1841) by David Brewster, p. 197. This has sometimes been misquoted as "It may be well to wait a century for a reader, as God has waited six thousand years for an observer."
Variant translation: I feel carried away and possessed by an unutterable rapture over the divine spectacle of heavenly harmony... I write a book for the present time, or for posterity. It is all the same to me. It may wait a hundred years for its readers, as God has also waited six thousand years for an onlooker.
As quoted in Calculus. Multivariable (2006) by Steven G. Krantz and Brian E. Blank. p. 126
Variant translation: I am stealing the golden vessels of the Egyptians to build a tabernacle to my God from them, far far away from the boundaries of Egypt. If you forgive me, I shall rejoice.; if you are enraged with me, I shall bear it. See, I cast the die, and I write the book. Whether it is to be read by the people of the present or of the future makes no difference: let it await its reader for a hundred years, if God himself has stood ready for six thousand years for one to study him.
Unsourced translation
Harmonices Mundi (1618)
Context: Now because 18 months ago the first dawn, 3 months ago broad daylight but a very few days ago the full sun of the most highly remarkable spectacle has risen — nothing holds me back. I can give myself up to the sacred frenzy, I can have the insolence to make a full confession to mortal men that I have stolen the golden vessel of the Egyptians to make from them a tabernacle for my God far from the confines of the land of Egypt. If you forgive me I shall rejoice; if you are angry, I shall bear it; I am indeed casting the die and writing the book, either for my contemporaries or for posterity to read, it matters not which: let the book await its reader for a hundred years; God himself has waited six thousand years for his work to be seen.

Source: The Miner's Friend; or, An Engine to Raise Water by Fire, 1702, pp. 10-11
Context: Should the engine, to the apprehension of some, seem intricate and difficult to be worked, after all the description I have given of it in this book, yet I can, and do assure them, that the attending and working the engine is so far from being so, that it is familiar and easy to be learned by those of the meanest capacity, in a very little time; insomuch that I have boys of thirteen or fourteen years of age, who now attend and work it to perfection, and were taught to do it in a few days; and I have known some learn to work the engine in half an hour. We have a proverb, that interest never lies; and I am assured that you gentlemen of the mines and collieries, when you have once made this engine familiar in your works, and to yourselves and servants; not only the profit, but abundance of other advantages and conveniences which you will find to attend your works in the use thereof, will create in you a favourable opinion of the labours of
Your real Friend and humble Servant,
THOMAS SAVERY

"The Argentine Writer and Tradition", Fervor of Buenos Aires (1923)
Context: Some days past I have found a curious confirmation of the fact that what is truly native can and often does dispense with local color; I found this confirmation in Gibbon's Decline and Fall of the Roman Empire. Gibbon observes that in the Arabian book par excellence, in the Koran, there are no camels; I believe if there were any doubt as to the authenticity of the Koran, this absence of camels would be sufficient to prove it is an Arabian work. It was written by Mohammed, and Mohammed, as an Arab, had no reason to know that camels were especially Arabian; for him they were part of reality, he had no reason to emphasize them; on the other hand, the first thing a falsifier, a tourist, an Arab nationalist would do is have a surfeit of camels, caravans of camels, on every page; but Mohammed, as an Arab, was unconcerned: he knew he could be an Arab without camels. I think we Argentines can emulate Mohammed, can believe in the possibility of being Argentine without abounding in local color.

Said in regard to any particularly beautiful or elegant proof, referring to a mythical "book" in which God wrote the proofs for all theorems, as quoted in Philosophy of Mathematics (2008) by John Francis, p. 51